The Reason

The first-ever dual balance, triple-axis resonance Tourbillon to be made.

« The universe is governed by constants/notions/laws that have allowed us to define and use the 4 basic dimensions of our terrestrial life: longitude, latitude, altitude and time. There are the physical dimensions that we have just mentioned, but what would they be if there was no interaction between the elements to combine /join/assemble/these together? Now we know interactions are possible thanks to waves. Waves are universal and are an integral part of our basic referential system in the same way as the 4 dimensions. Our entire universe is governed by these elements, so it was logical for us to associate them in the Deep Space Resonance Tourbillon. » Vianney Halter

At the beginning of his career as a watchmaker (1980s), Vianney was struck by images of a Breguet watch that represented an attempt to construct a timepiece with resonant balance wheels.  The watch made him want to investigate this path, but he did not yet know in which direction to look. Then 20 years ago in 2001 one of his colleagues presented a watch in which a technical principle linking two oscillators was used, which aroused his curiosity.

From the dictionary the word resonance has two meanings:

1. An increase in the amplitude of oscillation of a system, under the influence of regular impulses of a frequency close to the system's natural frequency.

2. That which provokes a response in someone, which moves them.

The watch shown is the prototype wristwatch of the Deep Space Tourbillon Resonance, made to validate and test the construction of the timepiece. The final timepiece will be housed in the same Deep Space Tourbillon case (deconstruction of which can be viewed here.) and the central mechanics will be identical to those shown on this page in the prototype. The dial will, however, vary from the prototype shown below and encapsulate the fundamental principles of the resonance phenomenon.

Technical specifications

• Weight : cage : 0,6g, cage + crossbar: 1.8g, 3-axis complete (with cradle): 2.8g

• Number of components of the complete 3-axis tourbillon assembly (with cradle and without base plate and basic assembly): 371

• 42 Pillars

• Frequency: 21'600 Vph

• Power reserve: 65 hours

In the video below, Vianney provides a detailed explanation to his philosophy behind the Deep Space Resonance.

The Theory behind the watch.

Our universe is made up of three spatial dimensions and a fourth dimension that we call time. Gravitational waves have an influence on this space-time because as they pass through it, they expand and compress it. Gravitational waves are not a constant phenomenon; they are created in the universe when objects of a large mass move and the resulting waves radiate at the speed of light over vast distances. Like the light from distant stars, gravitational waves can connect us to every part of the universe.

Any wave has fundamental characteristics of frequency and length, and in some conditions, the frequency can be in natural resonance with its surrounding, like when a guitar string is plucked and vibrates easily at the musical note chosen by the player by the position of his fingers.

Although the existence of gravitational waves and their impact on space-time had been foreseen and presented in 1916 by Albert Einstein, it was not until 2015 that they could finally be measured and thus proven. The detection of gravitational waves, caused by the collision between two black holes that occurred more than a billion light-years away, and was measured thanks to the resonance they caused on the LIGO measuring instrument. This discovery is a major advance in our understanding of the processes that define the universe. Resonance is, therefore a fundamental tool for human beings and the understanding of our own existence.

The consequence of the LIGO measuring instruments validation of Albert Einstein’s theory motivated Vianney to resume his technical exploration of resonance in watchmaking.

Exploring the piano.

Over the years his desire to go beyond the experiments and developments already carried out on this phenomenon had already grown stronger, several factors pushed him in this direction.  In 1996 Vianney started learning to play the piano. The principle of vibrations of the instrument develops his understanding of wave phenomena. In the early 2000s, while tuning his piano, he became aware of the resonance effect between the strings and the energy exchange between them. He felt that a similar relationship can exist between two regulating organs in a timepiece. He began to design a device to experiment with this idea.

In a piano there are several notes composed of 3 strings, it is by tuning these zones that Vianney thought that there was a phenomenon at work that needed further study. In order to tune these notes, you have to tune the 3 strings one after the other to hear if there are differences. So you have to block two of the three strings, with the hammer make the free string sound and adjust it, then block it and free one of the other two to tune it and then the same with the third one.

Normally, with a good ear or a device that measures frequency, the three strings are tuned more or less similar but they are never 100% identical. Once the 3 strings are left free and the note is played the 3 strings are tapped at the same time, they will then each vibrate at their respective frequencies but very close to each other and then quickly build up an average between them to compensate for their differences. They balance each other in order to tune to a precise frequency which is the result of the resonance of the 3, it is the resonance effect of the musical instrument.

This is where Vianney understood that there is a passing energy, an energy transfer from one string to the other, and that it forces in one direction or the other to compensate for the "errors"/lack of precision of the individual strings in order to combine on a single common frequency.

When he tunes one of the strings, he hits it, it rings, he adjusts it and when he considers it to be right there is no reason to hold the other two, he then lets go of the strings and there it appears that the other two strings start to vibrate instantaneously even though they have not been struck.

It is the vibration of the one that was still vibrating that was transmitted to the others. The energy was diffused between them because they are positioned physically close to each other. A string on a higher note does not vibrate because it is too out of phase. Vibrations are therefore transmitted if the state of the different elements is slightly different but close enough for vibration to occur spontaneously.

To better understand the phenomenon Vianney tested the theory of energy transmission through matter on a small keyboard that he places in a vacuum. The resonance then takes place in the same way as on his piano. This proves to him that even without air there is a transmission of energy, this energy passes through the common matter between the different elements which enters in resonance.

With the crisis in 2008, Vianney had to stop his experiments to focus on day-to-day watchmaking and manufacture. From 2016, due to the success of the original Deep Space Tourbillon, he could resume his research.

This construction/principle shown in the above prototype seeks to highlight the interconnection of two waves. The balance wheels and their springs, like the strings in a piano, can share this vibration phenomenon when they are connected in a certain way and according to certain rules.

There can only be resonance if there is a coupling between the two balances. To do this they must have the same physical characteristics, be set as close as possible to each other to resemble each other and above all be linked by a common connection. Like the tuning fork, where the two arms are identical in material and dimension and are connected by a common point. It is the link that allows the transmission of waves and energy to bring the whole into resonance, contrary to certain devices that use fluid dynamics (air) as the mechanical transmission. Mirror in design and common core are the two bases for resonance, the frequencies can then connect and influence each other.

Vianney’s technical construction.

Vianney's construction was intended to be as close as possible to these criteria. When he realised that his double-balance prototype resonated and that this would continue even in the absence of air he continued his research. The resonance phenomenon is permitted by the solid matter that connects the two balance assemblies. The experiment carried out under vacuum has shown that the resulting resonance phenomenon is valid.

The study of the prototype models allowed for the process of development of the tuning fork configuration in which the two balances would be carried. To prevent the wave dissipation, Vianney chose specific, rigid materials, and minimizes the length and complexity of the path the wave must travel. This led to the configuration in which the two balance assemblies are mounted opposite, and directly on top of each other. Using a rigid shared bridge to fix the ends of the two balance springs, he ensured that the result is resonance.

There is a challenge to prevent the waves from dissipating. In order to minimise the loss of energy from the waves, the common stud has a special geometrical construction. It is a result of this patented design that the undulatory interconnection of the two balances, is possible. Vianney designed and built this prototype with the simple aim of realising an authentic and fundamental physical phenomenon. After multiple tests, the system allows for the improvement of watchmaking precision. The resonance is the same regardless of the state of the watch's power reserve, from the moment it is armed it will resonate until the mechanism stops.  

A creative process.

One of Vianney’s creative processes is the collection of various objects. Searching, finding, surrounding himself with them, and analysing scientific, technical, historical and artistic elements.

The Russian marine chronometer.

The Russian marine chronometer type POLJOT produced in the 1950's, purchased between 2000-2002 with the intention of using two of them to make a resonance prototype. Russian marine chronometers of this type are precise measuring instruments. There have been many of them made and are often very similar, the reason for the original choice.

A change of direction, deck watches.

In the end, Vianney did not use marine chronometers because the construction was too large for the prototype model he wanted to make. Instead, he had also collected « Deck watches », it is on these watches, much closer technically (size and configuration) to a wristwatch, that he built the prototype model.

Russian deck watches (on-board chronometers, more mobile than a marine chronometer because of their pocket watch format) also dating from before the 1950s. They were so called because they were used on the deck of a ship to determine the position of the boat with a sextant.  

(These are the watches whose movements were used by Vianney to make the resonance prototype model in 2007 shown above).

Christian Huygens, the Langlois clock and resonance.

Vianney buys one of this clock in 2012. It is a historical object and in addition to its material value it, it is the basis and foundation of the idea of Vianney’s resonance.

In 1659 Huygens (born 14 April 1629) produced the cycloidal pendulum which ensures a rigorously constant period of oscillation whatever the amplitude. According to his theories on clock construction and isochronism, Huygens drew the plan of a clock which he then had manufactured with various clockmakers in Europe. He observed that they all worked in the same way and obtained practically the same precision even if they were made by different people with the nuances that this implies (different places, different artisans). Thus he demonstrated isochronism and that it was not the way of manufacturing that could generate a problem or a quality but the basic design that gives an equivalent precision. 

Once the clocks were gathered together by Huygens they were placed on a shared base and wound. It was then that the scientist realised that soon the pendulums would synchronise in oscillation.

The first resonance prototype model made in 2007.

Vianney started the design of this instrument between 2004-2005 after years of reflection on the subject of resonance. This was the first "concrete" work he made on resonance. He therefore designed a device based on the 2 deck watches by taking their entire gearing, the escapement and the balance wheel, which he arranged in a mirror-like fashion on either side of a single plate. With this he could test, adjust and modify them until he reached his goal: to make the two balances resonate together.

The second resonance prototype model made in 2019.

In 2019 he manufactures a double balance cage support enabling the two balance cages to operate in resonance without them being in the 3-axis tourbillon. In the watch, it is difficult to control exactly what happens with the new configuration and to test the resonance because it is constantly moving. This support/jig is a working tool and a step in the development of the resonance mechanism.

It allows him to analyze each escapement independently, with different energy sources, to observe if the resonance works as desired before placing it into the 3-axis carriage. The same gears are then put into the final watch.

It is essential to go through these steps in this new development, the timepiece is complicated, it is impossible to work on it when rotating. It was therefore necessary to find a way to immobilize it, hence the manufacture of this system that allows to feed the gears with power, independently, on each side of the double cage, (so each escapement and each balance can be adjusted).

This action brought them closer to, or further away from the resonance effect, applying the same force manually via different sources was inaccurate.

As a result, the resonance system worked in a moderately positive way and was very "delicate", which gave Vianney doubts about what would happen when they were placed in the treble rotating axis movement.

Once installed in the tourbillon cage his doubts disappeared, the energy distributed to the two balance assemblies and sets of gears comes from the same source through a differential, so it is perfectly balanced between the two and allows for resonance. 

When the mechanism is wound up, the escapement and balances are started with the same amount of energy and reach the same amplitudes, so the resonance works much better in the watch than on the manual prototype model.

The two balances start to resonate as soon as they have enough energy and remain in resonance until the end of the power reserve. They resonate by beating either in the same direction or in the opposite direction.

The direction of the oscillation depends on the position of the balances when they start moving, and will maintain the same direction until the end of the power reserve. The next time the watch is wound, the balances may start oscillating in the opposing direction and offer a new view of the resonance phenomenon.

-There are two types of resonances: the one using the principle of acoustic waves (used here) and the one that is part of the physical universe of fluid dynamics (Such as by F.P.Journe/Breguet).

• Acoustic waves: transmission of energy by waves.

• Fluid dynamics: use of air, oil thanks to boundary layers. The principle used in aeronautics.

The design of the pillars.

In 2018 Vianney bought a marine chronometer made by Achille Benoit in 1840, with constant force escapement. It has the peculiarity of having steel pillars (instead of traditionally brass) of different shapes to hold the different bridges in place.  The new system that Vianney developed is highly sophisticated and is part of the world of chronometry. This pillar style has been integrated into the design as a homage to Achille Benoit's work and the inspiration he provided.

Chronology

1980s: Challenged by images/photographs of a Breguet resonance watch (retained as an interesting idea).

1996: VH learns to play the piano when he tunes his piano he realises that there is something to be learnt associated with the resonance concept.

2000's: A resonance timepiece from a colleague, also stimulates VH's interest. He realises that this is not the same technique that he would like to develop on his own, so he continues his research.

2000's: Collection of objects that could be used to build his prototype models.

2005: Beginning of the design of the first resonance prototype.

2007: Manufacture of the first resonance prototype model.

2008-20016: A forced pause is made from the project.

2016: Proof and measurements of gravitational waves by LIGO, motivation and resumption of work on resonance.

2018: The first resonance prototype works, under vacuum. 

2019 : The support to adapt the resonance tourbillon to a wristwatch, (second prototype).

2020 : Prototype watch wrist finished with the Deep Space Tourbillon à Résonnance.

2021 : Deep Space Resonance planned to be officially released mid-year.

Understanding the dial.

Gallery of images, click to enlarge and see full image.

To learn more about Vianney Halter